Mule Skinner Blues

"Mule Skinner Blues" is a beautiful, messy, extravagant little documentary made about struggling dreamers by struggling dreamers for the struggling dreamer in all of us.

Go to any film festival that features genuine, undiscovered filmmakers, and you will find a few glamorous filmmakers who use $100 bills for facial tissue, along with hundreds of diehards who have spent all their money. and all the money anyone would give them or lend them, trying to put a little of the love and terror in their hearts on screen.

"Mule Skinner Blues," the song, is about a woman who is pleading for a chance to sing -- to a team of mules. To get away from the boredom and sadness in her life.

"Mule Skinner Blues" is about regular people in rural Florida -- not the richest, but not really the poorest -- who want to sing, write scripts, design costumes, make a horror film, etc. -- to find some way to rise above the pain in their lives, and turn both the pain AND the joy in their hearts into art.

The people in the film talk wistfully about becoming famous, but they're a lot more interesting than the typical twentysomething would-be artiste in the big city, or the typical established artist. First, because they live in a spectacularly beautiful part of northern Jacksonville (even if you DON'T feel the terror, you WILL feel the urge to move into a trailer park); they're older and have better war stories; they have a sense of humor; and, because they're so far from the big money, they're just more real.

When they screw up, they can't fall back on trust funds or Mommy or Daddy. They don't have trust funds, and, for the most part, they don't have living parents. If they have living parents, chances are they're the ones feeding the parents.

If you see the film and come away saying, "Those people are not all that different from the people who made 'Mule Skinner Blues,' or the people back in my neighborhood who have a garage band. Or the old ladies who get together for a quilting club," well, yes. What exactly is wrong with that?????

After viewing Mule Skinner Blues I came away realizing that it was not like many documentaries that I have seen before. I found it to be highly stylized and incorporated many elements from fiction films. Like fiction films it had an actual soundtrack. It wasn't the usual no frills soundtrack that one finds in a documentary film. The director used fantasy sequences to help us get inside the minds of the characters. There was one particular sequence when Steve Walker was describing Vietnam and the director spliced in footage of explosions and combat sounds to help paint a picture for the viewer. I liked the whole approach to the film and the idea in that it showed a slice of Americana that is not familiar to all of us. The movie shows a different slant on the American dream by showing that these people living in a trailer park have dreams and aspirations to become famous although their situation seems hopeless. The film also acts as a film about a community group. It shows how these former alcoholics and eccentrics band together as a community to help Beanie make his film. Another thing that contributed to my liking this film is the way the director kept the film somewhat fast-paced. He did not allow the editing to lag and become boring. He edited the sequences in such a way that it switched between characters, keeping your interest going and not staying on one character for too long. The director himself said "For me, the greatest sin a filmmaker can make is to create monotony, so it's my goal to make a documentary film that's every bit as thrilling, engaging, and visually stimulating as the fiction genre allows." I also think that the director did an important thing by allowing us to see some of the footage that Beanie filmed with his camera. This helps to show that this is how Beanie really is. That footage was not shot by the director so we know that it is not influenced by his ideas; it is from the real authentic point of view of the character. All in all I enjoyed Mule Skinner Blues - I feel that it has the potential to change the documentary film genre because of the way it used elements of fiction filmmaking.

Unlike a lot of people who reviewed this film and seem to think it's a crime to look at the lives of people who aren't doing all that well, I enjoyed Mule Skinner Blues and enjoyed these people. True, Beanie was a little annoying and his story got old quickly, but there are some no BS moments where we really get a contrast from the times that he is overly, "on." His description of falling into the depths of alcoholism is enough to scare you sober. Steve and Miss Jeannie are truly interesting characters and I loved "DUI Blues." I think that a bit more time could have been spent on exploring their artistry and a little bit less should have been spent on the making and premiere of Turnabout is Fairplay (sic).

It is likely that the majority of Americans who see this film will quickly label the people profiled within "losers", quickly denying any self-recognition. It is unfortunate that the current American psyche does not seem to find true value in love, friendship, camaraderie, non-commercial creativity of any kind, whether it be music, art, authorship, fashion design, hobbies, because it is quite obvious to me, at this stage in my life, that the "ol' mighty dollar" is not the only thing of value in it. The people featured in this film are multi-faceted, fascinating, and basically tender, loving and LOVABLE. Watching it made me wish for inner peace for them, as well as all Americans, so that they have the emotional freedom to appreciate the "treasures" they have all around them every day of their lives.

For a while, the locally-based documentary Mule Skinner Blues has its charms. But this ostensibly charming story of trailer-park residents who make their own horror movie starts to creak at about the halfway point, and eventually it just becomes annoying.

The movie's shaggy-dog tale is that Mayport resident Beanie Andrew appeared as an extra in a music video and then charmed the video crew so much that they decided to film his story. And for a while, one can almost believe that. Andrew claims it's been his life's dream to make a movie, and when he gets hold of a video camera, he finagles any neighbor with a smidgeon of talent to bring his project to fruition.

Said locals include guitarists Steve Walker and Ricky Lix, a yodeling singer named Miss Jeanie, and an erstwhile horror-story writer, Larry Parrot. They all have local followings of sorts, so even when the on-screen evidence of their talent is minimal, Andrew's assurance that they call pull off this gig is enough to satisfy you--at least for a while.

But when the movie starts using montage tricks and extensive clips from old horror films to goose its story along, it gives its own game away. Then the movie inexplicably leaps ahead three years, and it turns very bitter. Steve and Ricky have had a falling-out, Steve and Jeanie have lost their mates, and Andrew is recovering from alcoholism.

Finally--and again, inexplicably--Andrew and Parrot's 15-minute horror epic gets its debut in Jacksonville Beach, without a word as to how it ever got assembled or screened. And the fact that the movie got even a small premiere is supposed to be enough to satisfy its makers (and the audience of Mule Skinner Blues).

So we're left with deeply conflicting messages. Andrew is meant to be seen as a paragon of simple wisdom, even though his optimism doesn't last. Andrew and Parrot have dreams of making it big and yet are content with a one-night, rinky-dink screening of their movie. And the other performers go right back to the obscurity from which they came, without a word of complaint.

Like the down-home documentary Gates of Heaven (to which this movie has been much compared), Mule Skinner Blues labors mightily to uncover the astounding depth of simple folk. But I just don't buy into this cracker-barrel-wisdom concept. Even the movie's tagline--"Talent is half the battle, getting discovered is the other"--is a lie. Not content with their local followings, the "entertainers" in Blues seem far more concerned with making it big than with honi